Across the world, in Brisbane, Australia, a young Romy Vuksan started dance class at the age of two. A couple years later, Vuksan saw the Australian production of “Chicago.” “[I] pointed at Velma on the ladder, turned to my mum and said, ‘I’m going to do that,’” Vuksan recalled. “I was so young, but I couldn’t believe how much I loved watching the show. I was enamored.”
“I’m so grateful to my mom and dad, because any time a musical came to town, we were there!,” Vuksan continued. When she wasn’t in the audience of a show, Vuksan was dancing. “From the age of eight I was dancing six nights a week in every style imaginable,” she told Broadway News. “I loved going to school, but I knew I wanted to perform, and so [I] moved to Melbourne straight after high school to pursue my dream.”
Vuksan’s dedication and training paid off. In 2014, she was hired for a cabaret show by well-known Australian choreographer-director Jason Coleman in Melbourne. Vuksan continued to perform, being cast in the original companies of the Australian tours of “The Wedding Singer” and “Jagged Little Pill.” In 2023, Vuksan was hired as the dance captain/swing/Anne understudy for the Australian company of “& Juliet.” Soon, she was asked to serve as assistant choreographer on the first national tour of the Max Martin jukebox musical before moving to join the Broadway company as the dance captain/swing.
It’s fairly common for a dance captain to be a swing (an understudy, aka cover, for multiple ensemble tracks) because, as Vuksan explains below, dance captains know all of the choreography for the entire show. While Vuksan also serves as the associate choreographer for the “& Juliet” Toronto company and maintains her position as assistant choreographer of the national tour, here, she focuses on her duties as a Broadway dance captain (DC).
Broadway News: What does a dance captain do?
Romy Vuksan: The dance captain maintains the integrity of the choreography. I like to think they are the bridge between the cast and the creative team. I ensure that the movement in the show remains consistent, clear and true to the choreographer’s original vision from the time it’s learned through the entire run of the show. I also work closely with the stage manager to create any split tracks, if more people are out than we have swings [and we need one person to cover what more than one person usually does]. And, I will [lead] any choreography rehearsals required throughout the contract or help create performances for special events.
During rehearsals and previews, I learn the choreography in extreme detail, including spacing, counts, formations, stylistic notes and intention. I’m learning not just the swing tracks, but the entire ensemble and principal choreography as well. I usually create multiple documents to notate formations and detail so that I can look over the information once the show is open. After opening, my responsibilities shift toward maintenance. I run cleaning rehearsals, rehearse covers and swings and help integrate new cast members (which happens a lot at the moment!). I watch for spacing issues, detail that’s lost or moments where choreography may unintentionally change over time or need extra rehearsal. I also am a resource for the cast if questions or concerns come up. Ultimately, the goal is for every audience to see the same clarity, intention and storytelling each night.
With whom do you work on a daily basis?
Vuksan: I work closely with the cast, stage management [team], swings, understudies and creatives, when they’re in the building. I report primarily to stage management, the choreographer (Tony Award nominee Jennifer Weber) and associate choreographer. I also report to the rest of the creative team, and I act as a point person for the ensemble if they ever need me to relay information to the creatives or management. No one formally “reports” to me, but I do work alongside my brilliant assistant dance captain [Alaina Ví Maderal], and we achieve all of the above together as a team.
Describe a typical day at work for you.
